Took place this morning at the Abbey, in Berry in Provence. A daughter house of Solesmes, the Abbey of Fontgombault celebrates the Traditional Rite; Clear Creek Abbey in Oklahoma is one of the daughter houses of Fontgombault.
The notice at Rorate Caeli is here and at Le Salon Beige here.
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The jays have been quiet this morning although I noticed that they had taken most of the peanuts from the window sill while I was out earlier. I neglected yet again (it is gloriously cool this morning, the mid-50s it was) to lower the blinds so my guess is that this alteration in habit makes them a bit skittish; who knows, of course.
The new edition of Blessed Ildefonso Schuster's Liber Sacramentorum arrived yesterday; I've been looking at random pages in the five volumes. It is in fact a reprint of the English version, of 1927 (in any case that's when the nihil obstat and imprimatur were granted at Westminster), of Arthur Levelis-Marke, whose name shows up on the Internet (after a very brief search) only in connexion with Schuster's Liber: not an unimpressive monument, however.
At Salzburg, Julia Lezhneva and the Orchestra of the Mozarteum performed a concert program that included two Mozart symphonies (nos 29 and 25), three arias, and the motet Exsultate, jubilate K 165/158a. It has finally sunk into my poor head that I can listen to these concerts on Arte livestreamed... if I get up for them. As it is, I'm waiting until 1130 for the recorded version to become available.
The Salzburg Festival calendar is off by one day (e.g. they are showing the 23rd as a Saturday), which is confusing me no end, sad to say, as I try to plan what I'll listen to, when. I am easily confused, I reckon.
Blogger is fussing with the interface again-- one no longer sees all the posts on the front page of the site Cinerecilicio.com with the most recent one at the top of the page-- although it's possible I pushed the wrong button somehow. Tsk. Am late for Terce as it is.
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Julia Lezhneva sang a Handel aria as an encore: the beautiful and famous Lascia... not Lascia ch'io pianga from Rinaldo but Lascia la spina from Il trionfo del Tempo e del Disinganno. It is the same melody, however; Handel, who wrote for the fickle audiences of the theatre and to some extent to satisfy the amour-propre of patrons, quite cleverly re-purposed the best bits from the less successful works into vehicles better suited to their excellence.
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